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A Dialogue Workshop
for Scriptwriters
PENNY PENNISTON
M I C H A E L W I E S E P R O D U C T I O N S
CONTENTS
Acknowledgments x
Introduction xi
Why You Need This Book xi
How to Use This Book xii
v
TA L K T H E TA L K ! P E N N I S T O N
V I
C O N T E N T S
V I I
TA L K T H E TA L K ! P E N N I S T O N
V I I I
C O N T E N T S
Appendix 219
Script Analysis Suggestions 221
Course and Workshop Syllabus Suggestions 224
For Further Reading 236
I X
THE VOICE:
HOW PEOPLE TALK
HAMLET: Speak the speech, I pray you, as I
pronounced it to you, trippingly on the tongue.
—William Shakespeare (Hamlet)
LESSON ONE:
Capturing the Voice
Hamlet
A
s a scriptwriter, one of the first things you need to
master is the ability to capture dialogue on the page.
This is trickier than it sounds. Schools spend years
drilling us in prose writing — writing that is meant to be
read. Dialogue isn’t meant to be read; it is meant to be
heard. The scriptwriter has the difficult task of taking
something that is meant to be heard, putting it on the
page in such a way that it can be read, but ultimately
making sure that once it comes off the page and into an
actor’s mouth, it will still sound like speech.
Scriptwriters do this by abandoning almost every-
thing we ever learned about composition, grammar, and
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TA L K T H E TA L K ! P E N N I S T O N
Here’s an example:
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%&'(#)*+,'(-+./.01(,+)1(
*)/2(3(1+.01(4&,(,+.(,56.(7(
4
C A P T U R I N G T H E V O I C E
8189225(*&(&8,(:),+'(7(818;
9225(*&(&8,(:),+(1&<.&4.=(
1>)44)./'(!&/.(?),@(5&8(
>4&:A(B8,(,+)1(*)/2(3(1+.01(
?9,'(7(<.94(C"-'("4D(,+.(
,+)4*()1@(7(,+)4>(),01(+&,'(
E.9+'(%<&>)40'
For Discussion:
5
TA L K T H E TA L K ! P E N N I S T O N
6
C A P T U R I N G T H E V O I C E
For Discussion:
7
TA L K T H E TA L K ! P E N N I S T O N
8
C A P T U R I N G T H E V O I C E
9
TA L K T H E TA L K ! P E N N I S T O N
For Discussion:
1 0
C A P T U R I N G T H E V O I C E
1 1
TA L K T H E TA L K ! P E N N I S T O N
1 2
TOMMY: What do you mean, I’m funny?... You
mean the way I talk? What?... Funny how? I
mean, what’s funny about it?
—Goodfellas (1990)
LESSON TWO:
Imitating a Voice
W
ho are the voices in your head? Who are the
people with speech so familiar to you that you
can hear them talking when you close your eyes?
In your life, who talks so distinctively and with such
clarity of personality that you could imitate his rants,
raves, sputterings, mumblings, or musings on any topic?
Is it your crazy Aunt Tillie? Is it your rambling college
professor? Is it your overly earnest ex-boyfriend?
You don’t have to limit yourself to people you know
personally. Consider the familiar and distinctive speech
patterns of actors such as Jack Nicholson or television
characters such as Tony Soprano or Homer Simpson.
Consider other public figures. I’ve listened to the same
local radio station for the past fifteen years. The patter
of the morning DJ is as familiar to me as my morning
shower.
Often, art students are given the assignment to copy
an existing painting. The act of imitating another piece
of art forces the artist to go beyond her typical choices
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TA L K T H E TA L K ! P E N N I S T O N
For Discussion:
1 4
I M I TAT I N G A V O I C E
1 5
TA L K T H E TA L K ! P E N N I S T O N
For Discussion:
1 6
I M I TAT I N G A V O I C E
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For Discussion:
1 8
I M I TAT I N G A V O I C E
1 9
TA L K T H E TA L K ! P E N N I S T O N
2 0